This is the Everson
A Museum
of Firsts.

New York-based artist Amy Lincoln (b. 1981) paints dreamy, atmospheric landscapes and seascapes recalling her childhood under the overcast skies of the Pacific Northwest. At once tranquil and vibrant, otherworldly and familiar, Lincoln’s imagined scenes of radiant suns, calm seas, and vivid foliage present a stylized version of the natural world in every color of the rainbow. An exploration of the phenomena of light reflection and refraction, Fractured Light is Lincoln’s first solo museum exhibition....

Central New York’s Feats of Clay competition was established in 1987 to foster education in the ceramic arts for Syracuse-area high schools. Now in its 37th year, the event includes schools from as far away as the North Country and the Southern Tier and features a juried exhibition that recognizes students who demonstrate excellence in ceramic sculpting and vessel making....

Textile artist Ann Clarke frequently describes herself as "the kid who took a walk alone." Solitary labor and contemplation are essential building blocks for her work, which ranges from intricately woven landscapes to impossibly detailed anatomical tufted wall hangings. For Clarke, the importance of solitude is held in tension with her role as an educator and community builder....

Over the half-century span of its Ceramic National exhibitions, the Everson launched the career of countless American ceramists. In 1942 and 1958, the scope of the Ceramic Nationals became international, showcasing talents from both the Western hemisphere and Europe. On the advice of Italian artist Lucio Fontana, a brilliant ceramist in his own right, the 1958 Ceramic International introduced Nanni Valentini to the world. Valentini received a coveted purchase prize, and his work was exhibited on that year's circuit, which included the Metropolitan Museum of Art in New York, the Museum of Fine Arts Boston, the Cleveland Museum of Art, and the Detroit Institute of Arts....

Consequences of being brings together large-format paintings, works on paper, and— for the first time in Deborah Roberts’ career—ceramic sculpture. The exhibition marks a significant expansion of the Austin, Texas–based artist’s practice and a deepening investigation into the histories and legacies of colonialism. Roberts, who received her MFA from Syracuse University, uses collage to approach identity as something fragmented and continually reconstructed, reclaiming found materials and images to examine how Black bodies are seen, positioned, and understood globally....